Cicero has long been seen to embody the values of the Roman Republic. This study of Cicero's use of history reveals that rather than promoting his own values, Cicero uses historical representation to ...
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Cicero has long been seen to embody the values of the Roman Republic. This study of Cicero's use of history reveals that rather than promoting his own values, Cicero uses historical representation to explore the difficulties of finding any ideological coherence in Rome's political or cultural traditions. The book looks to the scepticism of Cicero's philosophical education for an understanding of his perspective on Rome's history, and argues that neglect of the sceptical tradition has transformed the doubting, ambiguous Cicero into the confident proponent of a form of Roman identity formed in his own image. The close reading of a range of his theoretical works make up much of the book: De republica, De oratore, Brutus, and De divinatione are treated in detail, and a range of other works are also discussed. The book explores Cicero's ironic attitude towards Roman history, and connects it to the use of irony in mainstream Latin historians, in particular Sallust and Tacitus. It also examines Cicero's approach to the history of rhetoric at Rome. The book concludes with a study of a little-read treatise on Cicero from the early 18th century, by the radical thinker John Toland, which sheds new light on the history of Cicero's reception. Cicero's use of history shows the flexibility of his understanding of Roman identity. The book argues against the image of Cicero as a writer hoping to coerce his readers into identifying himself and his own achievements with the dominant ideologies of Rome.Less

Cicero's Philosophy of History

Matthew Fox

Published in print: 2007-09-01

Cicero has long been seen to embody the values of the Roman Republic. This study of Cicero's use of history reveals that rather than promoting his own values, Cicero uses historical representation to explore the difficulties of finding any ideological coherence in Rome's political or cultural traditions. The book looks to the scepticism of Cicero's philosophical education for an understanding of his perspective on Rome's history, and argues that neglect of the sceptical tradition has transformed the doubting, ambiguous Cicero into the confident proponent of a form of Roman identity formed in his own image. The close reading of a range of his theoretical works make up much of the book: De republica, De oratore, Brutus, and De divinatione are treated in detail, and a range of other works are also discussed. The book explores Cicero's ironic attitude towards Roman history, and connects it to the use of irony in mainstream Latin historians, in particular Sallust and Tacitus. It also examines Cicero's approach to the history of rhetoric at Rome. The book concludes with a study of a little-read treatise on Cicero from the early 18th century, by the radical thinker John Toland, which sheds new light on the history of Cicero's reception. Cicero's use of history shows the flexibility of his understanding of Roman identity. The book argues against the image of Cicero as a writer hoping to coerce his readers into identifying himself and his own achievements with the dominant ideologies of Rome.

This book is a study of Euripides' so-called ‘political plays’ (Children of Herakles and Suppliant Women). Still disdained as the anomalously patriotic or propagandistic works of a playwright ...
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This book is a study of Euripides' so-called ‘political plays’ (Children of Herakles and Suppliant Women). Still disdained as the anomalously patriotic or propagandistic works of a playwright elsewhere famous for his subversive, ironic, artistic ethos, the two works in question — notorious for their uncomfortable juxtaposition of political speeches and scenes of extreme feminine emotion — continue to be dismissed by scholars of tragedy as artistic failures unworthy of the author of Medea, Hippolytus, and Bacchae. This study makes use of recent insights into classical Greek conceptions of gender (in real life and on stage) and Athenian notions of civic identity to demonstrate that the political plays are, in fact, intellectually subtle and structurally coherent exercises in political theorizing — works that use complex interactions between female and male characters to explore the advantages, and costs, of being a member of the polis.Less

Gender and the City in Euripides' Political Plays

Daniel Mendelsohn

Published in print: 2002-10-31

This book is a study of Euripides' so-called ‘political plays’ (Children of Herakles and Suppliant Women). Still disdained as the anomalously patriotic or propagandistic works of a playwright elsewhere famous for his subversive, ironic, artistic ethos, the two works in question — notorious for their uncomfortable juxtaposition of political speeches and scenes of extreme feminine emotion — continue to be dismissed by scholars of tragedy as artistic failures unworthy of the author of Medea, Hippolytus, and Bacchae. This study makes use of recent insights into classical Greek conceptions of gender (in real life and on stage) and Athenian notions of civic identity to demonstrate that the political plays are, in fact, intellectually subtle and structurally coherent exercises in political theorizing — works that use complex interactions between female and male characters to explore the advantages, and costs, of being a member of the polis.

This book is a primer on the political prophet and Christian social ethicist Reinhold Niebuhr (1892–1971), who is widely cited for his political realism in the aftermath of George W. Bush’s ...
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This book is a primer on the political prophet and Christian social ethicist Reinhold Niebuhr (1892–1971), who is widely cited for his political realism in the aftermath of George W. Bush’s presidency. His works are on the favorite reading list of Barack Obama. In addition to mapping the “Niebuhr revival” on the political left and right, the book’s seven chapters acquaint readers with the central teachings and ways of thinking behind this fresh interest. The core of Niebuhr’s Christian realism and the role of irony in his thought are made accessible to non-specialists in ways that explain his appeal to secular as well as deeply religious minds. The book begins with an account of the fresh interest in the Protestant thinker and argues for Niebuhr’s sense of history as a prelude to explaining how his view of the human self as sinful and self-preoccupied (individually and in groups) relates to his passion for social justice. Three chapters then examine Niebuhr’s teaching as a preacher and writer with uncommon literary sensitivity, take up his classic 1952 title, The Irony of American History as an expression of his Christian realism, and probe the reasons for his mixed reception in contemporary Christian circles, both popular and academic. A final chapter examines the ways that Niebuhr’s legacy invites levels of self-reflection that judiciously illumine the personal, political, and religious challenges that we face in the contemporary world.Less

Reinhold Niebuhr : On Politics, Religion, and Christian Faith

Richard Crouter

Published in print: 2010-06-17

This book is a primer on the political prophet and Christian social ethicist Reinhold Niebuhr (1892–1971), who is widely cited for his political realism in the aftermath of George W. Bush’s presidency. His works are on the favorite reading list of Barack Obama. In addition to mapping the “Niebuhr revival” on the political left and right, the book’s seven chapters acquaint readers with the central teachings and ways of thinking behind this fresh interest. The core of Niebuhr’s Christian realism and the role of irony in his thought are made accessible to non-specialists in ways that explain his appeal to secular as well as deeply religious minds. The book begins with an account of the fresh interest in the Protestant thinker and argues for Niebuhr’s sense of history as a prelude to explaining how his view of the human self as sinful and self-preoccupied (individually and in groups) relates to his passion for social justice. Three chapters then examine Niebuhr’s teaching as a preacher and writer with uncommon literary sensitivity, take up his classic 1952 title, The Irony of American History as an expression of his Christian realism, and probe the reasons for his mixed reception in contemporary Christian circles, both popular and academic. A final chapter examines the ways that Niebuhr’s legacy invites levels of self-reflection that judiciously illumine the personal, political, and religious challenges that we face in the contemporary world.

Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This ...
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Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This book offers a comprehensive new analysis of humour in the writings of Horace, Persius, and Juvenal, with an excursus to Lucilius. The main thesis is that far from being an external means of sweetening the moral lesson, humour lies at the heart of Roman satire and shapes its paradoxical essence. The book argues that while the satirist needs humour for the aesthetic merit of his work, his ideological message inevitably suffers from the ambivalence that humour carries. By analyzing object-oriented humour, humour directed at the speaker (including self-irony), and humour directed at neither object nor subject, the book shows how the Roman satirists work round this double mission of morals and merriment. As a result, they present the reader with a much more sprawling and ‘open’ literary product than they promise in their programmatic self-presentations. The argument is rounded off by a contemplation of the end of Roman satire, and its descendants — not only modern satire but also the novel, in which satire’s humorous orchestration of epic questions was later taken up and richly elaborated.Less

The Function of Humour in Roman Verse Satire : Laughing and Lying

Maria Plaza

Published in print: 2006-01-26

Our image of Roman satire has developed from that of a static, moralizing genre to a deliberately complex form, but our approach to the humour intrinsic to satire has not developed accordingly. This book offers a comprehensive new analysis of humour in the writings of Horace, Persius, and Juvenal, with an excursus to Lucilius. The main thesis is that far from being an external means of sweetening the moral lesson, humour lies at the heart of Roman satire and shapes its paradoxical essence. The book argues that while the satirist needs humour for the aesthetic merit of his work, his ideological message inevitably suffers from the ambivalence that humour carries. By analyzing object-oriented humour, humour directed at the speaker (including self-irony), and humour directed at neither object nor subject, the book shows how the Roman satirists work round this double mission of morals and merriment. As a result, they present the reader with a much more sprawling and ‘open’ literary product than they promise in their programmatic self-presentations. The argument is rounded off by a contemplation of the end of Roman satire, and its descendants — not only modern satire but also the novel, in which satire’s humorous orchestration of epic questions was later taken up and richly elaborated.

Narratives are artefacts of a special kind: they are devices which function to tell stories, and do so by conveying the storytelling intentions of their makers. But, narrative itself is too inclusive ...
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Narratives are artefacts of a special kind: they are devices which function to tell stories, and do so by conveying the storytelling intentions of their makers. But, narrative itself is too inclusive a category for much more to be said about it than this; we should focus attention instead on the vaguely defined but interesting category of things rich in narrative structure. Such devices offer significant possibilities, not merely for the representation of stories, but for the expression of point of view; they have also played an important role in the evolution of reliable channels of information, an issue pursued in three chapter appendices. This book argues that much of the pleasure of narrative depends on early developing tendencies in human beings to imitation and to joint attention, and imitation turns out to be the key to understanding such important literary techniques as free indirect discourse and character‐focused narration. The book also examines irony in narrative, with an emphasis on the idea of the expression of ironic points of view; a case study of this phenomenon is offered. Finally, the book examines the idea of Character, as evidenced in robust, situation‐independent ways of acting and thinking, and its important role in many narratives. It is asked whether scepticism about the notion of Character should have us reassess the dramatic and literary tradition which places such emphasis on Character.Less

Narratives and Narrators : A Philosophy of Stories

Gregory Currie

Published in print: 2010-02-18

Narratives are artefacts of a special kind: they are devices which function to tell stories, and do so by conveying the storytelling intentions of their makers. But, narrative itself is too inclusive a category for much more to be said about it than this; we should focus attention instead on the vaguely defined but interesting category of things rich in narrative structure. Such devices offer significant possibilities, not merely for the representation of stories, but for the expression of point of view; they have also played an important role in the evolution of reliable channels of information, an issue pursued in three chapter appendices. This book argues that much of the pleasure of narrative depends on early developing tendencies in human beings to imitation and to joint attention, and imitation turns out to be the key to understanding such important literary techniques as free indirect discourse and character‐focused narration. The book also examines irony in narrative, with an emphasis on the idea of the expression of ironic points of view; a case study of this phenomenon is offered. Finally, the book examines the idea of Character, as evidenced in robust, situation‐independent ways of acting and thinking, and its important role in many narratives. It is asked whether scepticism about the notion of Character should have us reassess the dramatic and literary tradition which places such emphasis on Character.

We return to Joyce and an irony directed at religious belief that is, nevertheless, not satire. Finally, beliefs about heaven and hell are rooted in the moral world within. Nietzsche's perspectivism ...
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We return to Joyce and an irony directed at religious belief that is, nevertheless, not satire. Finally, beliefs about heaven and hell are rooted in the moral world within. Nietzsche's perspectivism is relevant to that. Our image of heaven and hell is finally an image of how we judge ourselves.Less

Epilogue

John Casey

Published in print: 2009-10-01

We return to Joyce and an irony directed at religious belief that is, nevertheless, not satire. Finally, beliefs about heaven and hell are rooted in the moral world within. Nietzsche's perspectivism is relevant to that. Our image of heaven and hell is finally an image of how we judge ourselves.

This book argues that many Anglophone modernist and postcolonial authors have often functioned as geographers manquéés, advancing theories of space, culture, and community within the formal ...
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This book argues that many Anglophone modernist and postcolonial authors have often functioned as geographers manquéés, advancing theories of space, culture, and community within the formal structures of literary narrative. Reading a diverse body of work by Joseph Conrad, E. M. Forster, James Joyce, Graham Greene, Jean Rhys, Jamaica Kincaid, and Amitav Ghosh alongside writings of geographers and other intellectuals, this book finds a persistent imagining of other orders of geographical and geopolitical space that question or deny the ontological primacy of the territorial nation-state. Many twentieth-century Anglophone writers, the book argues, do far more than dramatize the conflicts of characters and communities within a static frame of geographical and social space; rather, these writers treat geographical space as a primary element of novelistic form. This geographical self-consciousness, or metageography, manifests itself in the novel as a structural tension between two codes of realism: the novelistic, which projects a mimetic space of human characters and invididualize plots, and the cartographic, which understands space as a quantitative, formal abstraction. In negotiating this tension, modernist and postcolonial writers employ a spatial irony as a way to both draw upon the novel's powers of mimetic representation while also critiquing the geopolitical orders of space into which the novel's individual narratives must inevitably fit.Less

World Views : Metageographies of Modernist Fiction

Jon Hegglund

Published in print: 2012-03-12

This book argues that many Anglophone modernist and postcolonial authors have often functioned as geographers manquéés, advancing theories of space, culture, and community within the formal structures of literary narrative. Reading a diverse body of work by Joseph Conrad, E. M. Forster, James Joyce, Graham Greene, Jean Rhys, Jamaica Kincaid, and Amitav Ghosh alongside writings of geographers and other intellectuals, this book finds a persistent imagining of other orders of geographical and geopolitical space that question or deny the ontological primacy of the territorial nation-state. Many twentieth-century Anglophone writers, the book argues, do far more than dramatize the conflicts of characters and communities within a static frame of geographical and social space; rather, these writers treat geographical space as a primary element of novelistic form. This geographical self-consciousness, or metageography, manifests itself in the novel as a structural tension between two codes of realism: the novelistic, which projects a mimetic space of human characters and invididualize plots, and the cartographic, which understands space as a quantitative, formal abstraction. In negotiating this tension, modernist and postcolonial writers employ a spatial irony as a way to both draw upon the novel's powers of mimetic representation while also critiquing the geopolitical orders of space into which the novel's individual narratives must inevitably fit.

In the late 18th and 19th centuries, non-English conservatives such as Burke, Scott, and Carlyle, among others, influentially shaped Britain's political attitudes and literary genres because they ...
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In the late 18th and 19th centuries, non-English conservatives such as Burke, Scott, and Carlyle, among others, influentially shaped Britain's political attitudes and literary genres because they stressed the conventional, theatrical, and even fetishistic character of civic emotions such as patriotism — and they illuminated the crucial role that irony could play in the construction of nationalism. They represent a public sphere shaped less by natural sentiment or rationality than by equivocal, even ironic deference and a highly conventional suspension of disbelief in the face of political fictions. Burke's counter-revolutionary works present British politics as a theater in which sublime ideas and abstractions are not always convincingly personified. Scott's activities as historical novelist and as antiquarian only thinly reconcile the disparities between the realities of British commercial empire and the sentimental, archaicizing self-image of a nation at war. Carlyle expands the insights of Romantic irony through the trope and eventual doctrine of fetishism: labor that forgets the role it has played in creating the forces that appear to command it.Less

Nationalism and Irony : Burke, Scott, Carlyle

Yoon Sun Lee

Published in print: 2004-06-10

In the late 18th and 19th centuries, non-English conservatives such as Burke, Scott, and Carlyle, among others, influentially shaped Britain's political attitudes and literary genres because they stressed the conventional, theatrical, and even fetishistic character of civic emotions such as patriotism — and they illuminated the crucial role that irony could play in the construction of nationalism. They represent a public sphere shaped less by natural sentiment or rationality than by equivocal, even ironic deference and a highly conventional suspension of disbelief in the face of political fictions. Burke's counter-revolutionary works present British politics as a theater in which sublime ideas and abstractions are not always convincingly personified. Scott's activities as historical novelist and as antiquarian only thinly reconcile the disparities between the realities of British commercial empire and the sentimental, archaicizing self-image of a nation at war. Carlyle expands the insights of Romantic irony through the trope and eventual doctrine of fetishism: labor that forgets the role it has played in creating the forces that appear to command it.

Villon studies have traditionally emphasized the documentary and didactic value of the Testament, concentrating on problems of historical referentiality. It is assumed that the work has a significant ...
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Villon studies have traditionally emphasized the documentary and didactic value of the Testament, concentrating on problems of historical referentiality. It is assumed that the work has a significant autobiographical element and that it has much to tell us about life in fifteenth-century Paris. The Testament has thus been avidly exploited by historians of the period and its interest as a document is well-established. This study concentrates exclusively on the textual strategies of the Testament, in particular on rhetorical techniques involving dialogue and irony. The book views the Testament as ironic from start to finish, and the main objects of the irony are identified as language and authority. The dissolution of meaning, authority, and even authorial identity are seen to be the principal results of the poet's rhetoric.Less

Villon's Last Will : Language and Authority in the Testament

Tony Hunt

Published in print: 1996-08-01

Villon studies have traditionally emphasized the documentary and didactic value of the Testament, concentrating on problems of historical referentiality. It is assumed that the work has a significant autobiographical element and that it has much to tell us about life in fifteenth-century Paris. The Testament has thus been avidly exploited by historians of the period and its interest as a document is well-established. This study concentrates exclusively on the textual strategies of the Testament, in particular on rhetorical techniques involving dialogue and irony. The book views the Testament as ironic from start to finish, and the main objects of the irony are identified as language and authority. The dissolution of meaning, authority, and even authorial identity are seen to be the principal results of the poet's rhetoric.

This book presents an integrated approach to the literary and non-literary writings of the major German author, Heinrich von Kleist. Analysis of Kleist's early letters, in particular, illuminates the ...
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This book presents an integrated approach to the literary and non-literary writings of the major German author, Heinrich von Kleist. Analysis of Kleist's early letters, in particular, illuminates the oblique and unique processes by which he became aware of his vocation; simultaneously offering new perspectives from which to approach the works themselves. The discipline of recording observations based on visits to art galleries and travels through landscapes and towns in Prussia, Saxony, and Franconia stimulated Kleist's imagination, providing sets and scenarios which brought him gradually to an awareness of his innate dramatic talents. On a more theoretical level, he was led to speculate about the problem of illusion in art at the same time as he was wrestling with the epistemological implications of Kantian philosophy. The negative aspects of illusion which he drew from the latter were complemented by a new-found confidence in his ability as an artist to impart to the ‘fragility’ of the human condition a degree of fixity through form and structure and the coherence and control associated with verbal devices such as paradox and irony. These principles are shown to operate to varying degrees in all Kleist's works, and to gain in subtlety and depth, nowhere more than in his final masterpiece, Prinz Friedrich von Homburg.Less

Heinrich von Kleist : The Ambiguity of Art and the Necessity of Form

Hilda Meldrum Brown

Published in print: 1998-06-25

This book presents an integrated approach to the literary and non-literary writings of the major German author, Heinrich von Kleist. Analysis of Kleist's early letters, in particular, illuminates the oblique and unique processes by which he became aware of his vocation; simultaneously offering new perspectives from which to approach the works themselves. The discipline of recording observations based on visits to art galleries and travels through landscapes and towns in Prussia, Saxony, and Franconia stimulated Kleist's imagination, providing sets and scenarios which brought him gradually to an awareness of his innate dramatic talents. On a more theoretical level, he was led to speculate about the problem of illusion in art at the same time as he was wrestling with the epistemological implications of Kantian philosophy. The negative aspects of illusion which he drew from the latter were complemented by a new-found confidence in his ability as an artist to impart to the ‘fragility’ of the human condition a degree of fixity through form and structure and the coherence and control associated with verbal devices such as paradox and irony. These principles are shown to operate to varying degrees in all Kleist's works, and to gain in subtlety and depth, nowhere more than in his final masterpiece, Prinz Friedrich von Homburg.